By Natalia Di Bartolo –
Parigi, 2 giugno 2015 –
(These excerpts of French and English translation from Roberto Alagna ’ s Facebook Official page)
Lyrical drama in three acts and six scenes, Le Roi Arthus by Ernest Chausson (libretto by the author himself), composed between 1888 and 1894, was performed only after four years after the composer's death, in 1903 in Brussels, and later only three more times until the present day. The choice to place the work in the Bill of’Opéra National de Paris Bastille in the course of Season 2014-2015so, it's certainly a conscious decision and guessed, that shows the only opera composed by Chausson on the French scene, where had appeared only in 1916.
Le Roi Arthus is affected by the Wagnerian echoes of Tristan und Isolde and of the Parsifalbut also sailor choirs of Der fliegende Holländerwith one ear taut, though the music of Berliozfrom which Chausson draws its most original ideas. A sort of post-also influences the resulting Wagnerian, with symbolists, which were expressed in the staging of the first performance. This does not mean that we can also perceive vibrations that they traced to Gounod or emotions that invoke other distinguished French authors. It is therefore a’Opera musically monumental, absolutely outside the box, which is not, as might appear at first glance, everything a clang of brass and boom of percussion, but has plenty of variations and nuances varied and it is difficult to perform and to be followed in its entirety. 
The new Parisian staging is entrusted to Graham Vick, which makes use of sets and costumes by Paul Brown and of the lighting by Adam Silverman, which made it a mixture between the setting of a belated rebel with a 70 's Hippy community, but managed not to distort the feelings of idealism that permeate the Arthurian saga, while presenting today's production impact of spectators with the entire collection that can be called very "robust".
For its part the conductor Philippe Jordan doesn't let capture the treacherous trap of mixed French, basically ones Wagner an explosive mix: do not get such a fearsome direction over the top, but shows a absolute mastery of dinamichand, with a strong and authoritative wrist towards the magnificent ’ Orchestra of the Opéra National de Paris. Very difficult to manage this unusual music and found it!
But it is above all the singing that proves to be extremely difficult and submits the entire cast in a totally out of the ordinary. 
On stage a prestigious trio: the imposing Thomas Hampson, Arthus, the strong-willed Sophie Koch, Genièvre, and the vital Roberto Alagna, Lancelotgive the best of themselves and demonstrate a "leak" enviable voice. The harsh difficulties of a score scabra and dizzying are addressed by the three protagonists, together with Alexandre Duhamel, Mordred, and to Peter Sidhom, Merlinas well as all other interpreters and Choir, directed by José Luis Bassowith admirable and a merger that could be called "miraculous", given the conditions in which the score submit them. A special mention to the young Lyonnel Stanislas de Barbeyrac.
But, unstoppable, to shine over all is the Lancelot of Roberto Alagnawho does own and very personal "terrible". That of Lancelot, which not only is a difficult part to make theatrically, but above all it is long and difficult to deal with note for note: we require a recitation serrata, combined with an extreme flexibility of the voice and the dangers for treacherous thrive on the staff and often pops up a fair amount of risk. The duets with Genièvrethen whizzing on a razor's edge. Thus, making the scene a youthful, agile and heroic Lancelot, Alagna is again shows not only a magnificent interpreter from perfect phrasing and impeccable diction, but vocally, also a wonderful tightrope Walker, gifted with the ability to tackle any obstacle that is between the singing French and German, and overcome it, avoiding distortions and clambering along a weaving.
And’ told that it seems that Chausson wrote the part of Lancelot just for him. In fact it is right there in the greatness of the interpreter, who admirably, by contrast, sews on a part to shake the wrists. A scenic and vocal goal fully centered, a performance full of even vital enthusiasm, of feeling and of human participation, in the continuous, unbroken exploration by the famous tenor of unpublished musical territories and unprecedented. Debuts in this work and makes it his. Anyone can now have the courage to sing this part, will have to contend with Roberto Alagna, with rustproof qualities of his voice and with his extraordinary ability to interpret: her performance in Paris as Lancelot, thus, becomes historic, unique and unrepeatable.
The highest crowd pleaserespecially for singers, which made all the interpreters applause felt and endless and decreed the success of this production's 2015 Opéra National de Paris Bastille.
© Natalia Dantas
Dalla pagina ufficiale Facebook di Roberto Alagna:
https://www.facebook.com/RobertoAlagna.Tenor?pnref=story
Excerpt (translated from Italian):
"The brightest of all is the Lancelot of Roberto Alagna, who appropriates perfectly, this daunting role. This lancelot is not only difficult to render scenically, but especially vocally each note: it calls for a precise game, combined with extreme flexibility of the voice. For the vocal cords, the pitfalls are legion and the role represents a good risk taking. Duets with Juniper sing on "razor wire". Therefore, with his youthful, dashing and heroic, Lancelot Alagna proves, if need to be, what wonderful performer he is, the perfect phrasing, impeccable diction. On the vocal side, it turns out a remarkable tightrope Walker, able to face any obstacle [...] The greatness of his performance is wonderful, full of passion and human feelings. […] Continuing his exploration of new musical territories and unprecedented, it begins in this work and the endorsed. From now on, anyone will have the courage to sing this work will have to reckon with the interpretation of Roberto Alagna, with stainless qualities of his voice, and with his extraordinary interpretation: his Parisian performance of Lancelot, single, now enters the story. An entry to the directory of the ONP that was applauded warmly and at length by an audience very satisfied with the performance of the singers.
➲ https://operaeopera.com/…/le-roi-arthus-di-chausson-rivive-…/
REVIEW | LE ROI ARTHUS (06/02/2015) by Natalia Di Bartolo for Opera e Opera Magazine (operaeopera.com – 06/13/2015) | « His outstanding performance makes history »
➲ Excerpt (translated from Italian) :
“The most brilliant of all is Roberto Alagna, who perfectly owns this terrible role of Lancelot. This is not only difficult to render scenically, but especially vocally, at each note: it demands a precise acting, combined with a high vocal flexibility. For the vocal cords, the performance is tricky and implies a certain amount of risk-taking. The duets with Genievre are sung on the knife’s edge. Thus, with his youthful Lancelot, dashing and heroic, Alagna proves, if need be, what a beautiful performer he is, with a perfect phrasing, an impeccable diction. Vocally, he is an outstanding tightrope walker, able to face any obstacle […] The greatness of his interpretation is admirable, full of passion and human feelings. […] Going on to explore new and unprecedented musical frontiers, he debuts in this work and makes it his own. From now on, anyone who will have the courage to sing this work will have to reckon with Roberto Alagna’s performance, the unaltered qualities of his voice and his extraordinary interpretation: his performance as Lancelot in Paris is unique and makes history. Entering the Paris Opera repertoire, the show was applauded long and loud by an audience very pleased with the singers’ performance.
© Natalia Dantas
PHOTO (c) Andrea Messana Opéra National de Paris, Pagina Facebook Roberto Alagna, AA.VV.